The gas station is one of the most iconic of twentieth century buildings. Recognised across the world, it is arguably most established on American soil where the notion of the road trip on a full tank of gas is culturally ingrained. Gasoline presents 35 archive press images of gas stations taken between 1944 and 1995. They have been collected by writer David Campany, purchased from the photography archives of several American newspapers which have been discarding their analogue print collections and moving to the now ubiquitous .jpeg or .tif formats. Gasoline can be read as a cautionary tale about the modern dependence on oil, about news photography, about the shift from film to digital imaging, or as a minor history of car design and vernacular architecture. Marked with the grease pen notations of the newspapers' art directors, the photos tell of oil shortages, road congestion, crimes, accidents and choking cities. Individually the images are single moments in time; collectively they show a growing consciousness about cars, the oil trade and global concern about pollution. David Campany is a London based writer, curator, and artist. He writes about documentary, photojournalism, art, cinema, fashion, archives, and architecture. He has published essays on many artists and photographers including, Paul Graham, Chris Killip, Edgar Martins and John Stezaker. His books include Walker Evans: the magazine work (2013), Art and Photography (2003), Photography and Cinema (2008), and The Open Road: photographic road trips in America (forthcoming in 2014). Campany writes regularly for Aperture, Frieze, TATE, Source, and Photoworks. In 2010 he co-curated Anonymes: Unnamed America in Photography and Film at Le Bal (Paris). In 2012 he won the International Center of Photography Infinity Award for Writing.

Gasoline

Campany, David

MACK BOOKS

Published alongside a major exhibition, Revelations explores a radical expansion of the visual field brought about by early scientific photography, and the ways this informed and inspired photography's applications within modern and contemporary art. Early scientific imagery such as X-Ray, photomicrography and experimental high-speed photography exposed and surpassed the limits of human vision. In doing so, it revealed important formal possibilities to artists, and spoke to them in clear and articulate terms about man's changing relationship to science and technology. Drawing on the National Collections held in Bradford and London, and further international collections, a selection of photographs, book spreads and other documents demonstrate new modes of representation established by early scientific photography and their profound impact on the histories of photographic art.

Revelations

Ben Burbridge

Between November 2009 and January 2011, Slovakian photographer Martin Kollar spent extended periods of time working and living in Israel, building a photographic dossier on one of the most contentious geographical zones of modern history. Kollar's past, a childhood spent behind the Iron Curtain, echoed unexpectedly during his time in Israel. The delineated territories of today's Israel mirror the partition walls of Communist Czechoslovakia during 'normalisation'. Random police searches and detentions piqued Kollar's sense of constantly being under surveillance and the subject of suspicion. Field Trip establishes an opaque representation of the life and landscape of Israel. Military presence looms heavily and the images are punctuated with anxiety. Butchered animals combine with uncertain portraits of Israeli residents and leave the viewer unclear where the military landscape ends and the civilian land begins. The work in Field Trip is just that - the result of a trip, an investigative and inquisitive one, tinged with paranoia, the result being a beautiful, stark, often humorous and complex photographic diary of a well-trodden land. This traumatic album epitomizes frontline photography. Martin Kollar was born in Zilina, Czechoslovakia (now Slovak Republic). He studied at the Academy of Performing Arts Bratislava and has been working as a freelance photographer and cinematographer since he graduated. He has received several grants and awards, including the Fuji Film Euro Press Photo Award and the Backlight Photography Award in Finland. His work has been exhibited across the world, including Maison Europeen de la Photography Paris, France, Rencontres d' Arles in France, MOCA Shanghai China, Guandong Museum of Art in China and Month of Photography in Krakow. He has published two photography books, Nothing Special (2008) and Cahier (2011).

Field Trip

KOLLAR, Martin

In a series of black and white images of the German landscape made between 1987 and 1997, Michael Schmidt has forged a new pictorial language to deconstruct the world he observes. Concerned with light and form, Schmidt's images contain a wealth of silver tones, a spectrum of rich greys which evolve from light to dark in mystical, imperceptible gradients. But the black and white filter is also a tool that allows Schmidt to neutralise the world, impeding the subjective perception of his viewer. It is through his editorial process, a process of montage, that Schmidt constructs an interior dialect, fashioning a self-contained world within the linear sequence of the book. Michael Schmidt was born in 1945 in Berlin. He passed away in Berlin on 24 May, 2014, a few days after the printing of NATUR. Michael Schmidt produced some of the most significant bodies of photographs in the history of the medium and is renowned for his books, most notably, the projects Waffenruhe (1987), U-NI-TY (1996), Berlin nach 45 (2005), and Lebensmittel (2012). His solo exhibitions include 'Lebensmittel' Martin-Gropius-Bau, Berlin 2013 / Galerie im Taxispalais, Innsbruck 2012 / Museum Morsbroich, Leverkusen 2012; 'Grey as Colour. Photographs until 2009', Haus der Kunst, Munich (2010); 'Frauen - EIN-HEIT - Menschenbilder', at the Kunstverein in der Kunsthalle Dusseldorf (2000); and 'U-NI-TY', at the Museum of Modern Art, New York and Sprengel Museum, Hannover (1996). Recent group shows include 'Consumption: the Fifth Prix Pictet Shortlist', Victoria &amp; Albert Museum, London (2014) and 'The Encyclopedic Palace', 55th Biennale, Venice (2013).

NATUR

Michael Schmidt

39 fotografie a colori . 8vo pp. 80 Rilegato tela (cloth) Rilegato in piena tela stampata Ottimo (Fine)

A Perpetual Season by Gregoire Pujade-Lauraine (2014-09-01)

Pujade-Lauraine, Grégoire

Joanna Piotrowska's uncomfortable album, a series of staged family shots, insists upon the fundamental anxiety at the heart of the family: its system of relationships, adamantine bonds that are equally oppressive and rewarding. Her images display intimate family scenes - cosily paired bodies, meeting and converging, in images which teeter on the verge of a dysfunctional moment. In one snapshot, two adult brothers lie together on a Persian carpet wearing only white briefs; in another, the black-clothed bodies of two embracing women merge, suggesting the atavistic overlap of mother and daughter. The title itself, which denotes a warm or stuffy atmosphere, captures the paradoxical nature of the family: frowsty spaces are both cosy and claustrophobic, intimate and airless. The images are carefully staged: Piotrowska asked her family subjects to pose in almost sculptural gestures, re-enacting moments of intimacy - repeating spontaneous instants of tenderness, in performances which are imbued with a plethora of new meanings. Influenced by the philosophy of the German psychotherapist Bert Hellinger, Piotrowska integrated movements and gestures from Hellinger's therapeutic method Family Constellations, which attempts to expose and heal multi-generational trauma. Her black-and-white images, intentionally nostalgic for lost moment of happiness, are shrewd observations of the tension of self that pervades every family dynamic. Joanna Piotrowska is a Polish photographer who recently completed her MA at Royal College of Art, London. She has exhibited her work internationally in Ireland, Spain, Poland, Russia, France, Latvia and in the UK. Works from FROWST have been included in Bloomberg New Contemporaries 2013, and in the exhibition 'Jerwood Encounters: Family Politics', curated by Photoworks.

FROWST

Joanna Piotrowska

Brenner, Ewald, Kollar, Koudelka, Lee, Peress, Sheikh, Shore, Solomon, Struth, Wall, Waplington This Place This Place explores the complexity of Israel and the West Bank, as place and metaphor, through the eyes of twelve internationally acclaimed photographers, each of whom use photography to ask essential questions about culture, society and the inner lives of individuals. The photographers, all outsiders to Israeli and Palestinian society, represent an array of nationalities, cultures, and visual grammars; they are Frédéric Brenner, Wendy Ewald, Martin Kollar, Josef Koudelka, Jungjin Lee, Gilles Peress, Fazal Sheikh, Stephen Shore, Rosalind Solomon, Thomas Struth, Jeff Wall, and Nick Waplington As each artist pursues their own line of investigation, what emerges is a dissonant and startling portrait; together, the highly individualised works combine to create not a single, monolithic vision, but rather a diverse and fragmented portrait, alive to all the rifts and paradoxes of this important and much contested space. This book accompanies a monumental exhibition, curated by Charlotte Cotton, which features more than 600 images, all newly-commissioned work, the product of four years of artist residencies. It includes an essay by the curator and extensive interviews with each of the participating artists. To accompany a touring exhibition: 24 October 2014 - 2 March 2015: DOX: Centre for Contemporary Art, Prague 14 May - 6 September 2015: Tel Aviv Museum of Art 15 October 2015 - 15 January 2016: Norton Museum of Art, Florida

This Place

COTTON, Charlotte, Shela Sheikh, Josef Koudelka, Gilles Peress, Fazal Sheikh, Stephen Shore, et al

Les photographies idiosyncratiques de Ken Graves capturent l’humour et le pathétique de l’Amérique à l’ère de transition des années 1960 et 1970. Regardant depuis les marges, Graves met en évidence les contradictions inhérentes à l'Amérique et à sa culture façonnées également par l'idéalisme et le déclin. Il examine et démantèle simultanément ces mythes et met en scène la tension du rêve américain sur fond de réalité granuleuse. Graves utilise la photographie comme un outil pour documenter le surréalisme quotidien, les épisodes improbables et les accidents heureux qui se déroulent devant la caméra. Comme Garry Winogrand, Graves cherche à construire un langage photographique distinct - de ton littéraire et toujours démenti par une politique de la vision. En recherchant les expositions publiques d'Americana, Graves se concentre sur la simultanéité de l'anticipation et de la collision, allant au-delà de l'hyperréalité du parc des expositions et des occasions de vacances, révélant plutôt l'émerveillement, l'humour et l'étrangeté du quotidien.

The Home Front

Graves, Ken

Salt prints are the very first photographs on paper that still exist today. Made in the first twenty years of photography, they are the results of esoteric knowledge and skill. Individual, sometimes unpredictable, and ultimately magical, the chemical capacity to 'fix a shadow' on light sensitive paper, coated in silver salts, was believed to be a kind of alchemy, where nature drew its own picture. Salt and Silver brings together over 100 plates drawn from the Wilson Centre for Photography, accompanied by two roundtable discus- sions with curators, academics, historians and collectors from world renowned institutions. Encompassing many of the great works of the period, the publication includes prints by Edouard Baldus, Louis Blanquart-Evrard, Mathew Brady, Charles Clifford, Louis De Clercq, Maxime Du Camp, Roger Fenton, Jean-Baptiste Frenet, Charles Hugo, David Octavius Hill, Robert Adamson, Calvert Richard Jones, Gustave Le Gray, Henri Le Secq, Charles Marville, Felix Nadar, Charles Negre, Felice Beato, Auguste Salzmann, William Henry Fox Talbot, Felix Teynard and Linnaeus Tripe. Participants in roundtable conversations include: Simon Baker, Tate; Martin Barnes, V&A; Elisabeth Edwards, De Montfort University; Carol Jacobi, Tate Britain; Hope Kingsley, WCP; Hans Kraus, Hans P. Kraus Jr Inc; Anne de Mondenard, Mediatheque de l'architecture et du patrimoine, Paris; Lori Pauli, National Gallery of Canada; Michael G. Wilson, WCP.

Salt and Silver

Wilson Centre for Photography

Spirit is a Bone

Broomberg, Adam

Chanarin, Oliver

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